Eames Specimen Book
-
Upload
bethany-heck -
Category
Documents
-
view
226 -
download
1
description
Transcript of Eames Specimen Book
Eames Century ModernHouse Industries Presents
1
2
4
3
���Q
Shell Chair1956 t����������������
t����������������
t������������������
t����������������
Charles & Ray Eames
Utilitarian, Mirthful, Beautiful
Aesthetic, Nostalgia & Blinders
Artful & Sculptural Contours
“It is not easy to do something good, but it is extremely difficult to do something bad.”
“We work because it's a chain reaction, each subject leads to the next.”
“Design is a plan for arranging elements in such a way as best to accomplish a particular purpose.”
“Art resides in the quality of doing, process is not magic.”YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY
zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t
rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
Eames Century Modern Thin
Eames Century Modern Light
Eames Century Modern Regular
Eames Century Modern Book
Charles and Ray Eames did not design a typeface. They did, however, leave a philosophical template for a font collection worthy of their name. Extensive research and close correspondence with the Eames family clarified our mission to honor their aesthetic while maintaining the timeless relevance and functionality that characterizes their legacy.
������H
����A����D
We derived a clear framework for this project from the way Charles and Ray used type in their illustrations, films, layouts, exhibitions and ephemera.
Since much of their design work refers to the rich typographic tradition of Victorian printing, the typeface would incorporate a wide selection of styles that reinforce the utilitarian, mirthful and beautiful tangents of the Eames oeuvre.
Dignified Directional Stability
Exquisitely Cultivated Closure
Practical, Uncommon, Beautiful
Illustrative Type System
Angles & Playfulness“Choose your corner, pick away at it carefully, intensely and to the best of your ability.”
“Does it solve a problem? Is it serviceable? How is it going to look in ten years?”
“Recognizing the need is the primary condition for design.”
Dramatic Negative Shapes“It is almost impossible to reconcile self expression with the creative act.” t������������������
t����������������
t�����������������
t������������������
t���������������������
t�������������������
z z z z z z z z z z z z z z z z z z z z z z z z z z z z z z z z z z
zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz
ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ
YZYZYZYZYZYZYZYZYZYZYZYZYZYZYZYZYZYZYZYZYZYZYZ
yyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy
sssssssssssssssssssssssssssssssssssssssssssss
Eames Century Modern Medium
Eames Century Modern Bold
Eames Century Modern Black
Eames Century Modern Stencil
Eames Century Modern Stencil Caemo
Eames Century Modern Extra Bold
Before drawing a single letterform we embarked on a journey that took us far beyond the low-hanging fruit of published material and internet search-es. Our process of building a foundation for Eames Century Modern started with breakfast meetings at the kitchen table of the Eames House and took us through in-depth tours of their studio and living space, visits to the archives of Herman Miller in Michigan and Vitra in Weil am Rhein, and quality time in a cramped carrel at the Library of Congress. We took every opportunity to learn even more through our nearly constant interaction with the Eames family and Eames Office employees of past and present.
Only then did we pick up our flexible pointed pens and begin to draw, em-ploying a hint of nostalgia and a set of blinders (so as to ignore the typo-graphic fads of the last three decades). The goal was to create practical text fonts in medium “workhorse” weights, then incorporate more playful traits at the heavy and thin extremes.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm NnOo Pp Qq Rr Ss Tt Uu VvWw XxYy Zz 1 2 3 4 5 6 7 8 9 0
×
On the light side of the spectrum we created wiry thin strokes that show visible contrast at large sizes.
xyz123
789abc
An extreme black weight with very little counter space and heavy bracketed serifs provides the dramatic anchor for the family.
1956rFFFFFFFFFsH GH GH GH GH GH GuEEEEEEEEEt
yLeather Lounge Chair
extra
lounge chair
*charles& ray
The italic styles took on a life of their own with emphasized serifs, graceful curves and dramatic negative shapes. Their rhythm, angle and playfulness offer a thoughtful tribute to Ray’s writing samples and correspondence.
Mid Century ModernBroad appeal & Universally practical
Uncommonly BeautifulSophisticated Fraction FeatureDesign Challenges & User neeDsA Hint Of Nostalgia & A Set Of Blinders
Charles and Ray were always quick to point out that good ideas are worthless
without the willingness to execute them in a way that they can have a broad
appeal and become universally practical. A modern typeface needs
to fulfill a wide range of design challenges and user needs.
Armchair Rocker
Carefully-weighted small caps, nine different figure styles, ligatures, contextual alternate forms and thousands of lines of code form the molds from which a truly practical yet uncommonly beautiful typeface is cast.
123456789 123456789
Aa Bb Cc Dd Ee Ff Gg
1 2 3 4 5 6 7 89 10 11 1 2
00CC GG SS
fj ff ffi ft tt fj ff ffi ft tt
⅓ ⅔ ⅛ ⅜ ⅝ ⅞ 1 15/16 8 23/24 5 6/7
Small Caps
Lining & Non Lining Figures
9 Different Figure Styles
Smart Ligatures
Alternates
Fractions
22 77Bend Chair
No study of the Eames legacy is complete with-out taking note of the bold stencil lettering used
throughout their work. A new stencil font based on the heaviest weight of Eames Century Modern takes the curvature of bent plywood and abstracts the shapes into type. This artful interaction of sculptur-al contours can easily stand alone or work together as an illustrative typographic system.
12345678900
&%2?1
&%2?1
49$¡£
49$¡£
17‰31¾36!½
5@8!¢
5@8!¢
1 2 3456
324 61
�����D
In a nod to Charles and Ray’s infatuation with circus imagery, we penned three elephantine numeral fonts whose woodcut-inspired forms leave a tastefully pachydermic impact on any layout.
Fanciful figures from Ray’s January and December 1943 Arts and Architecture covers were the impetus for a more delicate set of numbers.
Each of the figure sets boast a rich array of currency symbols, punctuation and a sophisticated fraction feature.
���Q
Easy Chair
QUUUUURW XSVVVVVT
AEEEEBG HG HCFFFFD
QUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUURW XW XW XW XW XW XW XW XW XW XW XW XW XSVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVT
aeeeeeeeeebg hg hg hg hg hcfffffffffd
The Eames’ pragmatism was always tempered with their love of adornment, so this collection would not be complete without a host of carefully drawn ornaments and a galley of frames. These elements are sure to provide dignified directional stability and exquisitely cultivated closure to any design project.
aegfbl om pk nchjid
aeexeebg hv wg hcffyffd
IMMJO PO PKNNL
uqqvs ts twrrx
$4.��
♠AEEEEEEBG HG HG HG HG HG HCFFFFFFD
IMMMMMJO PO PKNNNNNL
rFFFFFFFFFFFFFsH GH GH GH GH GuEEEEEEEEEEEEEt
R&
C